It looks like Forbidden Planet have put our (their) exclusive variant cover to Genesis online. Here is a link for buying that version of the comic.
Limited to 500 copies, our cover has been painted by Ian McQue. We are honoured Ian did this, FP as well. The comic will be signed by me, but also UK design comic superstars Robert Ball and Matt Taylor as they are also part of Genesis.
We will be at FP on Shaftesbury Avenue in London, on the 19th April from 1-2pm, signing, so come along and pick up your copies and have a chat.
FP will also have Image Comics’ non-variant, which is also a gatefold, half of it yet to be revealed. The standard version is discounted to £4.60, if you pre-order. All copies FP sell of the variant will be signed, whether you get there on the day or not.
Ian and Nathan and our other guest artists won’t be able to be there, but send their best.
Ian McQue works in videogame development at Rockstar North as assistant art director and concept artist. He has been part of the teams behind the acclaimed Grand Theft Auto series, Manhunt, Bully, and more. His personal work has been published widely, from Imagine FX magazine to books from Design Studio Press. In conjunction with Industria Mechanika he also designs model kits.
(Illustration for my self-published GN: By Chance Or Providence) Pre-order at www.werehouse.ca
I’ve a Decompressed I have to edit with Becky about this. And this is lovely.
Nausicaä of the Valley of the Wind deluxe edition — Miyazaki Hayao
Ugh I already own the complete thing twice in English and I want this anyway.
zhevickmeister asked: Hey Lesean! I've got a question about storyboards for portfolios. I've had various teachers at school tell me different things but what would you consider the standard of cleanliness for presenting boards? I've seen some of your drawings with construction lines still in them and others sooo clean, they can be used for key animation. What keeps me torn are some of Disney's recent boards for Tangled&Frozen. They're really sketchy.
Thanks for reaching out and that’s great question. Truth be told, there is no one right or wrong way to do storyboards. It all really depends on the production, the needs and standards of any said production. On one hand you have outsourced TV show productions which conventionally dictate that boards have to be extremely tight and on model. Why? Because they don’t handle layout or usually know who the layout artist is (Sad, I know) so it’s needed usually in order to hopefully ensure the most control over picture once it leaves pre production abroad.
Different directors have different skills and access to different resources; for shows that encompass all production in house (pre/main/post) emphasis on boards aren’t really necessary, so long as the jokes, intent and narrative is translated clearly. They rely on layout to REALLy get to the bones of animation (staging, lighting, composition and models—model check cleans up the mess).
Some directors who storyboard cannot help themselves as they are extremely talented draftsmen/women who can visualize their sequences in great detail even though they have an amazing layout/animation team to support them. Take Satoshi Kon (RIP) for example. here are some of his TOKYO GODFATHERS Boards:
And then, there’s Mamoro Oshii, acclaimed director of the classic GHOST IN THE SHELL:
As you can see these would be considered ” primitive” storyboards, however, not everyone has the production vision and accomplished writer/filmmaker experience that Oshii does, or blessed with Layout artist & animation phenom Kazuchika Kise at the helm of their animated project.
Some boards have even less information, but with the help of a strong main production team, it’s not necessary so long as it’s clear enough, image-wise. Here are some even messier storyboards from Gainax’s Evangelion:
Details regarding storyboards and their complexity vary from project to project & dependent on how much control any said director has on their overall final picture of their film or episode. This isn’t including storyboard artists who are also animators and layout artists (rare in American TV Animation production), as that can also have an impact (seeing as they do the subsequential stages of animation production, their storyboards benefit largely from knowing whats needed and whats not needed because they are experienced/knowledgeable about the following stages as well and who will be doing them).
As for me, I was raised on a healthy diet of Katsuhiro Otomo, Satoshi Kon, Yasoumi Umetsu & Hayao Miyazaki story boards and have hoarded their works in my personal collection. Their level of detail is something I’ve learned from as a growing, aspiring comic book illustrator. Since I have had less experience in my career seeing the entire production of projects I direct to finish at every stage, I’ve had to adhere to the conventional standards of TV animation pre production, which is " the more detailed, hopefully the less you have to worry about them getting it wrong overseas."
This “pink elephant” or “blind production” process in standard, subcontracted TV animation production was never something I approved of, but it is such the case in mod TV animation productions in the states (Not so much for me in the last 5 years). Much less so for CGI/2D features and smaller projects as their layout crew are usually in house with them to communicate wth.
As for you, the main concern should be your ability to emote expressions clearly, have a solid grasp of storytelling ability and communicating your ideas clearly. That’s mostly what productions look for regardless of whats compartmentalized production-wise. How detailed your boards should be will be something that matters once you’re hired and plugged into said studios pipeline process.
Good luck! :-)
Hey guys, the She Makes Comics kickstarter has 6 days to go and it’s not fully funded yet! This is an awesome, incredibly worthwhile project that I know a lot of you care about, so spread the word.I’ll be so sad if this doesn’t get made! Spare a dollar?
everyday dragon yuri every time is dragon yuri
anyway, forever reblog
Anonymous asked: How old are you and do you ever write in your spare time?
37, and yep, I do write.
I’m actually working on two projects as a writer at the moment, besides my beloved Pretty Deadly (in which I handle the arts).
8House:Mirror with my friend Hwei drawing. A mini in a new sci-fantasy universe at Image in which we will collaborate with some amazing creators like Brandon Graham, Marian Churchland, Xurxo Penalta, Sloane Leong among others.
And another one, clean sci-fi, that wasn´t announced yet and that I will also draw.